The arrival of Show Boat at the Washington National Opera this month, after stops in Chicago and Houston, has provoked a certain amount of consternation in operatic circles. Does Jerome Kern and Oscar Hammerstein’s 1927 musical properly belong in the opera house, and should a precious slot in an opera company’s season be devoted to such popular and obviously commercial entertainment? Do the moneylenders need to be driven out of the temple?
The production’s director, Francesca Zambello, is well known, and sometimes criticized, for her Broadway spectacular approach to staging opera. Zambello’s first and only foray into directing on the Great White Way in 2008, Disney’s Little Mermaid, was itself a garish, incomprehensible fiasco. This staging of Show Boat, which first debuted at the Lyric Opera of Chicago last year, represents something of a hybrid approach: busy, naturalistic, and often frenetic, if not nearly as over-produced and desperate to please as a typical Broadway venture.
Thankfully, the production is also eminently respectful of the source material and displays first-rate musical values. From the pit, conductor John DeMain enforces an unfussy, lyrical approach to the score and draws polished musical performances from his singers. Indeed, the very question of the proper milieu of Show Boat is almost beside the point, as the commercial realities of Broadway today cannot match the resources and production values on display at the Kennedy Center Opera House: a 100-member cast, a full symphonic orchestra, playing Robert Russell Bennett’s original orchestrations, and most, though not all, of the singers performing without amplification.
Zambello has judiciously trimmed the book and dispensed with some of the show’s most outdated cornball humor. (One should note that the most explosive of racial epithets has been excised from the lyrics and only remains in the dialogue of the more unsympathetic characters.) The set, designed by Peter Davison, with its large-scale, if somewhat minimalist, representation of the Cotton Blossom and its use of outsized painted flats, makes an imposing, though rather vacuous, impression. Paul Tazewell’s attractive and often ostentatious costumes evoke decades of Americana, if not always serving the production’s overall naturalistic aesthetic. The choreography, by Michele Lynch, is bright and energetic but also at times unfocused and generic.
Yet for all of the evident care lavished on the score and the cleverly straightforward production concept, this Show Boat only fitfully comes to life. Zambello achieves a swift, cinematic flow between scenes, which suits the telescoped writing for Act II, yet too many scenes themselves remain stilted and weighed down by a libretto that does not match the emotional and dramatic power of the songs. More crucially, for all of the production’s musical polish, only a few performances truly plumb the depths of a show that ought to overwhelm with its staggering emotional power.